From The Composer's Chair: Search Results

Polytonal Chords Part IV

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on May 15, 2010 9:05 AM | Permalink

This perspective also works for Dominant Chords.

Lets use the G Dominant Chords - using four note chords

G7th = R, 3rd, 5th, b7th G, B, D, F - two chords lie within the G7th chord:

G, B, D = G major and B, D, F = B diminished.

(So the Bass player could play the G note, the keyboard could play G major chord (G, B, D) and the guitar could play B diminished (B, D, F) across the neck to solo or make melodies arpeggio style).

Now lets look at other dominant chords and apply the polytonal approach:

G dominant 9th = R, 3rd, 5th, b7th, 9th G, B, D, F, A

G, B, D = G major and D, F, A = D minor

G dominant 11th = R, 3rd, 5th, b7th, 9th, 11th G, B, D, F, A, C

G, B, D = G major and D, F, A = D minor

G dominant 13th = R, 3rd, 5th, b7th, 9th, 11th, 13th G, B, D, F, A, C, E

G, B, D, F = G seventh and F, A, C, E = F major seventh

This also works for altered dominant chords:

G dominant 7th/b9 = R, 3rd, 5th, b7th, b9th G, B, D, F, Ab

G, B, D, F = G seventh and D, F, Ab = D diminished.

G dominant 7th/#9 = R, 3rd, 5th, b7th, #9th G, B, D, F, A#

G, B, D, F = G seventh and D, F, A#(Bb) = Bb major.

G dominant 7th/b5 = R, 3rd, b5th, b7th, G, B, Db, F,

G, B, Db = G#11 and B, Db, F, = Db (C#) seventh.

G dominant 7th/#5 = R, 3rd, #5th, b7th, G, B, D#, F,

G, B, D# = G#5 and B, D#, F, = B#11.

Assignment: Record each of these chords - using quarter note strums for five to ten minutes. Then using quarter then eighth notes on another track or with a friend - play the first, then second polytonal chord up and back arpeggio style.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

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Polytonal Chords Part III

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Vince Lauria

on May 10, 2010 7:40 AM | Permalink

This perspective also works for all the other scales and modes previously covered (see archives bottom of this page).

Lets go back to the C Harmonic Minor Family of Chords - using four note chords (every other note in a group of four notes)

C minor major 7th = R, b3rd, 5th, 7th C, Eb, G, B - two chords lie within the C minor major 7th chord.

C, Eb, G = C minor and Eb, G, B = Eb augmented.

(So the Bass player could play the C note, the keyboard could play C minor chord (C, Eb, G) and the guitar could play Eb augmented minor (Eb, G, B) across the neck to solo or make melodies arpeggio style).

Now lets look at all the other diatonic created family of chords for C Harmonic Minor and apply the polytonal approach:

D minor 7th b5 = R, b3rd, b5th, b7th D, F, Ab, C

D, F, Ab = D diminished and F, Ab, C = F minor

Eb major 7th sharp 5 = R, b3rd, #5th, 7th Eb, G, B, D

Eb, G, B = E minor and G, B, D = G major

F minor 7th = R, b3rd, 5th, 7th F, Ab, C, Eb

F, Ab, C = F minor and Ab, C, Eb = Ab major.

G dominant 7th = R, 3rd, 5th, b7th G, B, D, F

G, B, D = G major and B, D, F = B diminished.

Ab major 7th = R, 3rd, 5th, 7th Ab, C, Eb, G

Ab, C, Eb = Ab major and C, Eb, G = C minor

B diminished 7th = R, b3rd, b5th, bb7th (6) B, D, F, Ab

B, D, F = B diminished and D, F, Ab = D diminished

Assignment: Record each of these chords - using quarter note strums for five to ten minutes. Then using quarter then eighth notes on another track or with a friend play the first, then second polytonal chord up and back arpeggio style. Later combine the scale (harmonic minor) with the arpeggio for more interesting sounds.

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

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Dominant Seventh Chord - Non-Functioning Part VI

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Vince Lauria

on April 20, 2010 7:49 AM | Permalink

Remember that the non-functioning dominant seventh chords are not diatonically created. This means they are not from any harmonized family of chords.

An altered tension means to sharp or flat the 5th or the 9th degree of the dominant chord.

One simple approach to get altered tensions on a dominant chord that are non-functioning

(non diatonic) is to play a major scale one fret or half step above the root of the dominant chord. This technique produces the following tension tones:

b9, #9, 11, b5, #5, b7, R.

Remember this formula is the same for ALL KEYS.

Assignment: Record this progression in all keys and play the appropriate major scale (shown). On the dominant chord play the scale indicated on the right of the dominant chord. Remember to use quarter then eighth notes on another track or with a friend.

Dominant seventh sharp nine - number formula = R, 3rd, 5th, b7, #9 (same formula for ALL keys).

I, vi, ii , V7 in the key of C major: C maj //// Am //// Dm //// G7#9 //// Ab major

I, vi, ii , V7 in the key of G major: G maj //// Em //// Am //// D7#9 //// Eb major

I, vi, ii , V7 in the key of D major: D maj //// Bm //// Em //// A7#9 //// Bb major

I, vi, ii , V7 in the key of A major: A maj //// F#m //// Bm //// E7#9 //// F major

I, vi, ii , V7 in the key of E major: E maj //// C#m //// F#m //// B7#9 //// C major

I, vi, ii , V7 in the key of B major: B maj //// G#m //// C#m //// F#7#9 //// G major

I, vi, ii , V7 in the key of F# major: F# maj //// D#m //// G#m //// C#7#9 //// D major

I, vi, ii , V7 in the key of C# major: C# maj //// A#m //// D#m //// G#7#9 //// A major

I, vi, ii , V7 in the key of F major: F maj //// Dm //// Gm //// C7#9 //// C# major

I, vi, ii , V7 in the key of Bb major: Bb maj //// Gm //// Cm //// F7#9 //// F# major

I, vi, ii , V7 in the key of Eb major: Eb maj //// Cm //// Fm //// Bb7#9 //// B major

I, vi, ii , V7 in the key of Ab major: Ab maj //// Fm //// Bbm //// Eb7#9 //// E major

I, vi, ii , V7 in the key of Db major: Db maj //// Bbm //// Ebm //// Ab7#9 //// A major

I, vi, ii , V7 in the key of Gb major: Gb maj //// Ebm //// Abm //// Db7#9 //// D major

I, vi, ii , V7 in the key of Cb major: Cb maj //// Abm //// Dbm //// Gb7#9 //// G major

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

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The Blues Scale!

By

Vince Lauria

on September 1, 2009 8:32 PM | Permalink

One of the most commonly used scales in music besides the Major Scale is the Blues Scale.

Today lets learn it - then later I will show you ways to apply it.

First most scales are seven notes in a certain interval formula. What that means is out of the twelve notes in our musical system we usually use just seven of the twelve.

(an interval is the distance between any two notes - more on this later)

First lets review the number formula for a Major Scale:

R/1, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th/R or octave

The notes in the key of C would be:

C,D,E,F,G,A,B,C

The Blues Scale number formulas is:

R1, b3rd, 4th, b5th, 5th, b7th, 8th/R or octave.

The notes in the key of C would be:

C, Eb, F, Gb, G, Bb, C

Now transpose these to each position (register) of your instrument, then to all 15 keys.

Vince Lauria Sun and Earth Music

Vince Lauria

Results tagged “5th” from From The Composer's Chair

Polytonal Chords Part IV

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Polytonal Chords Part III

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Dominant Seventh Chord - Non-Functioning Part VI

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The Blues Scale!

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